By Onyeka Ezike

Renowned cartoonist and cartoon editor of The Sun newspaper, Albert Ohams—an artist whose work distils the spirit of a nation, probes its conscience, and records its deepest contradictions with ink, wit, and wisdom—recently marked his Diamond Jubilee with an art exhibition themed “Mastery and Milestones.” The theme was a testament to a life steeped in artistic devotion and cultural storytelling. The event was held at the Spotlight Creative Hub, Victoria Island, Lagos.

Albert Ohams, known for blending journalism with art for over three and a half decades, has wielded the cartoonist’s brush not merely as an instrument of humour, but as a scalpel of truth, cutting through layers of hypocrisy, power, and pretense in Nigeria and beyond. As a dedicated journalist with passion from his early days in the newsroom to his longstanding post as Cartoon Editor of The Sun newspaper, Ohams has always used his pen to draw the lines that gave voice to the silenced and laughter to the oppressed.

His extraordinary craft and brilliance position his work as a moral centre; he is never empty of humour, and his works are always thoughtful, deliberate, and purposeful. Ohams uses his work to challenge authority without losing empathy and mocks wrongdoing without cruelty.

The Diamond Jubilee was more than an exhibition; it showcased the dynamic artistic craft of the cartoonist. Sixty works of art were displayed, comprising forty cartoon pieces and twenty paintings on canvas. Among Ohams’ works was “The Juice of Labour,” a 42 x 42-inch canvas painting depicting the story of a palm wine tapper. The artwork portrays the village life of the tapper, who gets fresh palm wine but unfortunately fails to be the first to taste it. The artist uses this piece to remind people to always enjoy the fruit of their labour, even after shouldering family responsibilities.

Another remarkable piece showcased was “Emergency,” a 38 x 30-inch painting on canvas that depicts a pregnant woman in labour as her husband tries to drive her to the health care centre on his bicycle. “The Burden of Motherhood,” a 42 x 42-inch acrylic on canvas painting, tells the story of motherhood and the pain mothers endure to care for their children. The painting shows a woman carrying a child while selling in the market.

Speaking at the event, the CEO of MIND of the MASTERS, Larry Segun-Lean, described Ohams as a very intelligent journalist who thinks outside the box and has, over the years, carved a path in artistic painting. He described the artwork “Emergency” as a representation of the state of the nation.

He said, “The ‘Emergency’ resonates with the present condition of Nigeria, where we find ourselves as citizens. The work shows a man trying his best to take his pregnant wife on a bicycle to the health care centre in a local community for delivery. The man’s pregnant wife is in painful labour, looking up to the sky.”

Segun-Lean described the man as a Nigerian politician who lacks transformative ideas that can turn things around for citizens. The pregnant woman represents Nigerian citizens, who have handed their hope over to their faith and religion for what tomorrow holds. The bicycle represents the kind of vehicle deployed by our leaders to transport Nigerians to an unknown destination, despite the painful labour citizens endure trying to secure a better life.

In an interview, the founder of Iziegbe, Vera Ofure, an Africentric creative artist, appreciated Albert Ohams’ work. She said the “Emergency” particularly resonated with her, showing the man fulfilling his responsibility to care for his wife.

Another artwork showcased was “Our Family Value,” 32 x 24 inches, depicting a father punishing his son for an offence while the mother pleads for mercy. Chika Uzoho, a guest at the exhibition, commended Ohams for upholding family values through his artwork.

She said, “This work reminds me of my childhood days. Growing up in a very strict environment, we witnessed this as children. I recall a young boy in my area who would be punished by his father whenever he came home late; the mother, on the other hand, would be speechless and helpless whenever the father was punishing the son.”

The most powerful stroke on his canvas is “The Brush Cartoon and Animation Centre,” which he founded in 2017. Ohams has become more than a master; he has become a mentor—lighting the path for young cartoonists, animators, and dreamers across Nigeria. His annual cartoon competition for students is not just a contest; it is a platform, a launchpad, and a legacy.

His works have earned him accolades across the country, including the Nigeria Media Merit Award, the Diamond Award for Media Excellence, the Wole Soyinka Investigative Journalism Prize (twice), and international recognition from the BBC and others.